Controlled Bleeding - “Larva Lumps and Baby Bumps” 2xCD

Explosive new work from reformed experimental group

After some years of sporadic activity and the unexpected deaths of primary members Chris Moriarty and Joe Papa, this double-length album marks a serious return for Paul Lemos’ venerable noise-prog-jazz-ambient-dub behemoth. Through the years, Controlled Bleeding have provided a rather schizophrenic mix of genres, from outright power electronics to industrial dance to ambient to sacred music hybrids. Now, with new members, the band has found a focus on a wild out-jazz, prog-rock, post-rock madness that refuses to “fit” anywhere comfortably, but it sounds just amazing.

Opening with the frenzied prog-rock intensity of “Driving Through Darkness”, the album leans in for a darker, funky post-punk grind in “Carving Song”, which will more than please fans of “Filth”-era SWANS a bit. “Trawler’s Return” is a feverish jazz-thrash attack that careens headfirst into a Lemos guitar shredding, set to a pace that would please any classic punk rocker. “As Evening Fades” is a sweet and mellow ambient dub piece, leading into the 22-minute closer, “The Perks Of Being A Perv”, which ends the first album in a tour-de-force of pounding post-industrial rhythms lashed alongside Lemos’ maniacal guitar. Call this one more jazz-prog-thrash, every bit as intense as any metal could hope to be. The track evolves/devolves into pounding experimental improv noise, a sort of harkening back to the band's famous days as one of America's premier industrial noise groups.

The second disc is “The Bisi Sessions”, recorded live in the studio back in 2011 with legendary NYC producer Martin Bisi (known for his work with SWANS, Sonic Youth, Live Skull, and tons more). These 7 tracks (well, 8, as there's an unlisted bonus cut) are an ideal accompaniment alongside the initial “Larva Lumps” disc — weird, complex rhythms and genre-busting arrangements all centered around the remarkable guitar chops of Lemos himself. Approaching a kind of hyper speed-core on most cuts, Controlled Bleeding’s potent musical ramblings (all instrumental here aside from a rather pop-oriented "Trang's Song", with sweet vocals from longtime collaborator Trang) are both befuddling and somehow invigorating. 

Music doesn’t need to belong to any category or genre, and Paul Lemos and company have spent many years proving that great music comes, rightly, from far outside the mainstream. Cheers, Paul, and here’s to many more releases and reissues.

ArtOfFact/Storming The Base

Controlled Bleeding site

Jarboe - "Live In NYC" DVD

Stylish, dark, and enchanting former SWAN spreads her wings

For her first New York performance following her split from SWANS, Jarboe and band conjure a bewitching, elegant, and edgy presence for this 2000 show. Shot with several cameras in an intimate setting (the Knitting Factory), this 60-minute video showcases Jarboe's dark solo material as well as some re-tooled revisions of her work with Swans and (The World Of) Skin.

Opening with the esoteric art-rock of "Surrender" and "We Are The Prophecy", the band hits a crescendo with "My Buried Child". As well, "Euphoria/Demons Out" is a cathartic expression of reckless abandonment to a primal force, and features a wild on-stage appearance by the incomparable Kembra Pfahler (The Voluptuous Horror Of Karen Black). "Dear 666" is a swampy blues number that showcases Jarboe's diverse vocal stylings, while the stripped-down and mournful "One Thousand Years" is a beautiful lament, remaining faithful to the original Skin recording.

"Live In NYC" is an effective look at Jarboe's live persona just post-SWANS, and any fan of her unique and beguiling blend of weird and personal musics will be glad to have witnessed it.

Atavistic

The Living Jarboe

Jarboe presents The Sweet Meat Love And Holy Cult - "Mystagogue" 2xCD

Though it's semi-billed as a Jarboe album, this double-set is actually a selection of 28 psychedelic and freak-folk songs that only sometimes include the participation of the legendary chanteuse herself. "Mystagogue" features, for the most part, a revolving door of artists and personalities, Jarboe being just one of many.

Opening with a re-recording of Jarboe's own "Ode To V", there's also a curiously straight-forward cover of Donovan's "Wear Your Love Like Heaven" (also sung by J. herself). "First Utterance" is a realistic audio portrait of a smoky opium den, both intoxicating and mysterious. Other standouts include Antic Clay's lovely and anthemic "Take This Tongue", which in my world would be a radio "hit". Henry Derek's "The Big Mouth" is cool and charismatic haunted blues. Derek's "Ballad For Blind Joe Death" refers to, and is most certainly an homage to, legendary guitar master John Fahey, and it all closes out with the voodoo blues-folk of "The Clasping Of Hands". A solid and trippy set of tunes for end times and new world awakenings alike.

(Atavistic)

Jarboe's personal website

Branca - "Songs '77-'79" CD

Collecting 8 tracks recorded by Glenn Branca's early New York "no wave" groups The Static and Theoretical Girls, this 32-minute set shows 2 distinct faces of the post-punk legend's history. Since then, Branca's "guitar symphonies" have become a well-known part of underground music history, and he's inspired countless avante-rock bands and artists (some of which include SWANS and Sonic Youth -- both of which include members who, at one time, performed as part of Branca's symphonies). These early works show hints at what was to come, but remain firmly attached to the "rock" paradigm.

"Don't Let Me Stop You" and "My Relationship" are both songs from The Static, and the resemblance to early Sonic Youth is uncanny. Clearly, a large part of Sonic Youth's inspiration came from Mr. Branca. These tracks (which pre-date SY by several years) are evidence. There are weird, de-tuned walls of guitars, primal drumming, and quirky vocals. Excellent and seminal work.

The remaining 6 cuts are Theoretical Girls, and are more artful slices of odd post-punk weirdness. "You Got Me" is a bouncy bit of art pop, and "Jill" is a twisted attempt at  acoustic pop, whereas "Fuck Yourself" could almost be very early Swans with it's repetitive riffs and nihilist simplicity/single-mindedness. Simply said, this is a historically viable, if brief, look at an underground inspiration in his earliest permutation. Very cool and unique work.

(Atavistic)

Glenn Branca website

Swans - "Feel Good Now" CD

As a document of the band's scathing and nuanced 1987 "Children Of God" tour, this "official bootleg" was originally released in a small edition on double-vinyl and CD. This resequenced reissue omits "Trust Me", but is still quite worthy for devotees of Swans' transcendent sound and vision.

Opening with the gutteral "Intro", the band launches into "Blind Love", which  pummels mantra-like for over 20 minutes. "Like A Drug" is a bowel-churning attack, while "Beautiful Child" is a churning assault with murderous intent. There's no weak spot here, and though some may feel the 75 minutes here are far too much to endure, I  feel to the contrary, especially as the softer moments (highlighted by Jarboe's foreboding "Blood And Honey") serve to pace the otherwise bludgeoning assault of sound.

Make no mistake, "Feel Good Now" is a raw, bootleg-quality recording. It was, after all, recorded on a Sony Professional Walkman by the band's sound engineer. However, as an album and experience, it's still quite worthy for serious fans, as it showcases a particularly volatile and inspiring period for the band, right between their powerful (even threatening) early work and their more melodic middle period. The intensity is not lost on the relatively low fidelity here. 

Visceral and unembellished, "Feel Good Now" is a cathartic experience with few parallels. It's best to close your eyes and absorb. Magnificent! 

(Atavistic)

Official SWANS site

Young God Records

SWANS - Live At The Firebird, St. Louis, MO, 10.23.12

Having seen SWANS in their post-reformation twice before (Chicago in 2010 and Nashville just last year), I thought I knew what to expect at this show, as the band supported their massive 2-hour double-CD, "The Seer". I was quite surprised at the transformation, and although it was a sweaty, grueling evening, I was quite glad to have been a part of it.

Opening the show was New Mexico-based A Hawk And A Hacksaw, led by a former member of Neutral Milk Hotel. I hadn't been familiar with them, but was pleasantly surprised at their odd Eastern folk gypsy style. With an accordian, zither, and violin as chief instruments, the duo of Jeremy Barnes and Heather Trost crafted a wild mix of lively and wordly folk music. Trost provided some vocals in an Eastern style on occasion, but overall this was a lovely and somehow unlikely opener for the juggernaut that was to be SWANS. 

When SWANS took the stage at last (it was, by this time, already well after 10pm), the audience went wild, with proclamations of "We love you, Mike", directed at leader Michael Gira, who did little more than smile slyly. The impending aural assault was nothing short of apocalyptic, and it shook the building, sending shock waves surging through the crowd's collective bodies. Even with earplugs firmly in place, this was as loud a band as I've ever experienced in my 24 years of concert-viewing. It was absolutely consuming. Truly.

The songs were more like extended pieces, with a few new album tracks (sometimes expanded and re-vamped entirely) alongside some new improvised pieces (always in transition until recorded), as well as a punishing classic, "Coward", from the band's brutal 1986 album, "Holy Money". Gira conducted his band like a classical maestro, giving them cues to launch into dynamic formation, and waving his hands as if conducting an orchestra. At a few spots, he visibly scolded band members when they failed to meet his expectations. As well, he gave them visible positive reinforcement (a devilish grin) when they did well. This was serious business for Gira, and I'd say his band is well versed in crafting the precise sounds he expects of them. 

If the other recent SWANS shows I've seen in recent years were almost transcendent experiences, with extended drones melding with moments of early SWANS-styled force, this one took a more evolved turn into bowel-churning ferocity that resembled a sort of exalted religious experience. Apparently, the band requested the air conditioning be turned off, and the fervent heat and physical force of the music itself was psychedelic. There's no other word for the effect of having one's guts (and ears) eviscerated in such a startlingly beautiful and explosive fashion.

As for the sound itself, imagine a mix of classic Krautrock (Can and Neu! come to mind), early space-freakout Pink Floyd (with wandering moods and atmospheres that evolve and devolve into "songs"), and the band's own trademarked single-minded sonic punishments. 

This was a wild and positively cleansing, cathartic experience. My hearing may have been adversely affected, but this tour shows SWANS firing on all cylinders. It may've been over 2 hours of gigantic riffs, noise, drones, and amazing drumming (Phil Puleo is a powerhouse, as evidenced by his closing drum solo), but I was sorry I had to leave. 

Young God Records

SWANS original site

SWANS - "The Burning World" CD

I'm pretty certain Michael Gira didn't anticipate, nor "green light" this 2012 reissue of Swans' infamous 1989 major label album. And for collectors or fans, it offers little over the original pressing aside from a louder remastering. I'd have liked to see the single B-sides, at least, appended for a more complete experience, but that's nitpicking.

It's been well-documented before many times. Gira and company were signed to MCA/Uni, and with the addition of an outside producer, Bill Laswell, they came up with this selection of 10 folk/world songs. Coming on the heels of the bands' sprawling, scalding masterwork, "Children Of God", this mellow, moody, and melodic set was subjected to numerous declarations of "sellout". And though it produced one of Gira's most memorably haunting songs ("God Damn The Sun"), the singles "Saved" and "Can't Find My Way Home" didn't find themselves charting much anywhere. 

Years later, many still consider "The Burning World" a blemish within Gira and company's illustrious catalog. Gira himself has outright refused to reissue this, aside from some odd bits included on his "Various Failures" compilation, and a very limited handmade redux called "Forever Burned", which also sold out quickly and now fetches large sums itself.

"The Burning World" isn't a terrible effort. On the contrary, it's a strong one, but it also needs to be seen for what it is --  a turning point, a very public transition where Gira, Jarboe, and Westberg would shed their previous image. They would eventually resolve to rebuild the band's legacy several years later with the double-album epics "White Light From The Mouth Of Infinity" and "Love Of Life", and that legacy continues today, stronger than ever.

So, while this reissue may not be fully "official", newer fans unable to obtain a reasonably-priced original will find it's an appealing alternative. Let's just hope Water/Universal compensates Young God Records for this one. (Water/Universal)

Young God Records (official source for new SWANS music)

SWANS - 09.17.11 Mercy Lounge, Nashville, TN

Having satisfied a longtime wish of finally seeing the mighty SWANS live last year in Chicago alongside longtime Godsend/Goatsden friend MXV (keeper of the Punk Vault), I was more than pleased to be able to catch them so soon again, this time much nearer to home, in cozy "Music City", Nashville. Oddly enough, this same night the city hosted shows by both Taylor Swift and Earth.

Performing in the tiny Mercy Lounge (upstairs from the larger Cannery Ballroom, where I saw Nick Cave's Grinderman last year), possibly due to a wedding party being downstairs (funny, that, seeing the ladies and gents in their nicest dresses and suits--hah!), the show opened fairly promptly with former Sun City Girls frontman and Sublime Frequencies founder Sir Richard Bishop. His brand of Middle-Eastern and Indian-tinged guitarwork was fun, lively, and quite good. After a while, Bishop's between-song banter became off-kilter, surreal/dada storytelling, beat poetry, and some freaky folky stuff that likely harkened back to his proto-punk days with Sun City Girls. As keeping with M.Gira's unusual and left-field opening choices (last year he featured transvestite vaudeville performer Baby Dee), Bishop was a reasonably well-received opening act. During this time, SWANS' steel guitar player Christoph Hahn took a seat next to us. Though we introduced ourselves and shook his hand, he turned down an offer of a beer, and didn't hang around long.

A short intermission between acts, and after what seemed like an interminable period of guitar feedback from the empty stage (it must have been at least 15 minutes), Thor Harris appeared, adding chimes and percussion to the din. There was plenty of shrill overloaded noise, and members of the crowd held their ears as they were assaulted by the painful sound. Drummer Phil Puleo took stage next, adding more drums and noise. Gradually, Hahn, bassist Chris Pravdica, and guitarist Norman Westberg joined in, with Michael Gira appearing around the same time.

The group continued with the assault, building and building to a feverish overload, before beginning with "No Words/No Thoughts", from the latest SWANS album, "My Father Will Guide Me Up A Rope To The Sky". The band was tight and prone to expanding the songs into densely-packed clots of heavy-duty, cement-packed walls of sound. Pravdica's bass had some troubles early on, and showed Gira becoming visibly agitated. In fact, his orchestrations led the group, and I witnessed all the members intensely watching him for their cues throughout the show. Indeed, Gira is the mastermind and leader, and his humble but commanding presence warranted the band's full attention at times. Crossing the man was simply not an option, and this reminded me of the Chicago show where Gira stopped the show to point out, shout at, and spit on a slam-dancing goon who was disrupting other fans' enjoyment of the show. Bouncers soon converged and threw the fool out. Bravo! Nothing of the sort happened here in Nashville, though. The audience here was respectful and reverent.

The band ground through many of the songs from the latest album, and I noticed what seemed to be a couple of new songs, as well, presumably from their upcoming release. As well, a singular throwback to the old days was dusted off, that being "I Crawled" from "Young God", which ended up being 10 minutes long. Most of the tracks tonight seemed to be expanded and broadened, showing more in common with both the gut-churning density and aggression of early SWANS and the "Soundtracks For The Blind" era, with broadstrokes of instrumental post-rock atmospheres and orchestrations. Whereas last year's tour had more linear songs, this one was more sprawling, epic, and mountainous. And much stronger.

Forget half-baked metal, SWANS are as vicious and monumental as anything out there, even 30 years after their initial inception. This was an amazing show, with such a tremendous volume that my ears rung for a day afterwards, and the impact of the bass was felt throughout my body. Stunning! Gira still has it, and he's collected a band that has all the sheer power and tension that SWANS were known for in the past.

After the show, we managed to meet most all of the band and shake hands. Gira himself appeared in a new, clean shirt (and graciously signed my brother's copy of the now-rare book, "The Consumer" as well as posing for photos and chatting a bit). He was good-spirited and very affable with fans, some of whom we spotted holding a stacks of vinyl for him to sign. We also approached drummer Puleo, and reminisced about his days in Cop Shoot Cop and their 1992 show at laundromat/bar/venue Sudsy Malone's in Cincinnati, where we saw him after a Skinny Puppy show across the street. He remembered Sudsy's and was a gracious host as well, and so thanked him before hitting the highway for home. All-in-all, a wonderous night, dulled only by our ringing ears.

Young God Amazon Sampler

With the monumental SWANS reformation tour presently assaulting eardrums across the United States, frontman Michael Gira's label, Young God Records, has released a free downloadable 86-minute sampler of the label's history, including work from Gira as SWANS and Angels Of Light, plus work from Devendra Banhart, Larkin Grimm, James Blackshaw, and Akron/Family, among many others.

It's available from amazon in the USA for absolutely FREE. Fans in the UK have to pay, as do Germans (though amazon.de has a discounted rate it looks like).

The link should be here:
Young God Amazon Sampler

Neurosis - "Enemy Of The Sun" CD

Originally released in 1994 on Alternative Tentacles, this early Neurosis album shows the Oakland band growing into their trademark symbiosis of tribal percussion, dark industrial ambience, and full-throttle aggro-metal. Since becoming an icon of what's now termed "post-metal", Neurosis' blackened soundscapes (which owe an acknowledged debt to early SWANS) paved the way for so many later acts, it's hard to even quantify.

Here, the band open with the raw "Lost", which is almost asphyxiating in it's density and painful throb/grind. "Raze The Stray" opens with the atmospheric vocals of Erika Little, accented by piano and keyboards. But this is soon interrupted by a screaming rupture of drums, primal shouts, and grinding guitars. The track returns to the moodier sound thereafter, creating an epic dirge that pulses and shifts to and fro. It's a little reminiscent of (Controlled Bleeding side project) Skin Chamber as well, who were working in a similar arena at the time, daring to join experimental industrial sounds and textures with brutal grind metal. The title track is a feral assault, with samples augmenting the percussive attack.

Neurosis' success lies in that they have learned to temper their destructive and primal urges with moments of stark, blissful beauty. And their varied use of nontraditional metal instruments also ups the ante. "The Time Of The Beasts", for example, dares to include horns, even, creating an almost dusky Southwestern vibe amidst the pounding noise, which segues into the 16-minute drum circle & didgeridoo piece, "Cleanse". Fans of defunct California tribal-percussion voodoo-conjurers Crash Worship will appreciate this wickedly esoteric track.

To make this reissue a worthy purchase for fans who may already have an earlier pressing, Neurot Recordings has sweetened the deal with 2 bonus tracks - a demo of "Takeahnase" and a live version of "Cleanse". "Enemy Of The Sun" is a 78-minute set of dark tribal grind metal with few equals. Recommended. (Neurot Recordings)

Treponem Pal

Taking their name from the scientific term for the syphilis virus, French industrial metal act Treponem Pal have been active for some years, and have seen a career littered with highs and lows. Often seen as a kid brother of sorts to their mentors/friends in Swiss avante-rock act the Young Gods, they have created some of the finest music of their genre, and they are back after an 11-year absence with a new CD. This is my quick-step assessment of their major recorded works up to now.

"Treponem Pal" CD (1989) - This raw debut was produced by Young Gods vocalist Franz Treichler, and indeed, it does echo that group's gutteral, explosive rock vibe. Vocalist Marco Neves' vocals are even a similar tone to Franz's. Nonetheless, the band's penchant for SWANS-style slow-burn grooves are obvious, as well as their prog-rock ala Voivod elements. Listen to "Slow Man" and hear for yourself their SWANS fixation in full effect. If you can get past some rather silly lyrics (who can forget the album's closer, "Soft Mouth Vagina"?), you may be surprised that this album holds up fairly well today.

"Aggravation" CD (1991) - My initial introduction to this smoldering aggro-metal act, "Aggravation" boasts production by former SWANS drummer Roli Mossimann. It's denser, heavier, and more guitar-heavy than it's predecessor. "Rest Is A War" is all-out war indeed, while the thrashy "Fugitive Soul" throws in some killer guitar samplings among the live instruments. Here is where the group really picks up some steam. There are still some slower grinding moments, but the band goes more metal here, with slicing guitars and thumping grooves. "TV Matic" is Voivod meets Young Gods, and works nicely that way, thank you very much. Their cover of Kraftwerk's immortal "Radioactivity" works surprisingly well, too. The start of something great.

"Excess And Overdrive" CD (1993) - With Treichler returning to the producer's chair, this remains the band's tour-de-force. I spent a lot of time in the 90's listening to post-Wax Trax! industrial rock and metal, and this album rates very highly, indeed. A shame it's been mostly ignored and unheard by many of those who would've made T.Pal major stars back in the day. "Out Of Reach" is a scalding, hot anthem of electronic-tinged metal. Every bit as powerful as Ministry ever were, the single, "Pushing You Too Far" is catchy, omnipotent, and combines the group's influences the most cohesively. It's simultaneously slow and brooding, then bombastic and grinding. It's no wonder Al Jourgensen drafted guitarist Michel Bassin for a Ministry tour during this era. The title track is a massive SWANS slave-grind, and "Sometimes" lashes this dissonant sludginess to a stomping metal groove. From start to finish, this is a stomping monolith of crushing mecha-metal madness, with a furious sense of urgency and swollen aggression. One of my personal favorite industrial-metal albums of all-time, seriously.

"Higher" CD" (1997) - The band was on a roll with "Excess", but for some reason, it took 4 years for this one to finally see release, and on a major label, no less. Well, this is where the band's momentum stopped abruptly. I blame part of that on the weak production of KMFDM's Sasha Konietzko, which managed to completely subdue and neuter Treponem Pal's hard-driving sound. "Higher" as an album sounds plastic, puerile, and like KMFDM with a different vocalist. The dubby-reggae sounds of "Panorama" or "Freetribe" are likely the doing of vocalist Neves, who went on, after this album, to work as dub project Elephant System, but the KMFDM production makes it all sound flat and bland. And we won't discuss their cover of "Funky Town". Sad to see the band fall so far.

"Weird Machine" CD (2008) - After 11 years away, Neves returns, with a new lineup, bolstered by the addition of some genre heavyweights -- bassist Paul Raven (Killing Joke, Prong, etc., who, sadly, passed away while recording for this album) and drummer Ted Parsons (SWANS, Godflesh). This is the group's strongest showing since "Excess And Overdrive", with songs like "Planet Crash" returning to the band's original heavy rock sound. "Hardcore Massive Soldier" recycles lyrics from past T.Pal songs, as well as referencing Sonic Youth, among others. "Mad Box" is a cover of the track "The Box" from the band's debut album, and there's more big rock songs like "Human Attack", which balance the group's "Excess"-era sounds with electronic underpinnings. Marco's vocals are appropriately gutteral and harsh, and this proves that Treponem Pal is back with a vengeance. "Weird Machine", though it's not seen release in the states at all, is certainly worth looking for if you've ever appreciated this band's past works.

Treponem Palspace

A Storm Of Light - "Forgive Us Our Trespasses" CD

This album serves as a warning, and a document of mankind's widespread gluttony and greed over our own Mother Nature, and the devastating effects of Earth tipping the scales back into her favor. And to capture that heavy-duty concept, the music needs to be grand, all-encompassing, and absolutely omnipotent. "Forgive Us Our Trespasses" comes mightily close, and in fact works quite well under that condition. Formed in 2008 by Josh Graham (ex-Battle Of Mice, Neurosis visualist) and joined by Dominic Seita (Tombs, Asea), Andy Rice (Sinking Ships), and Joel Hamilton (Battle Of Mice, Book Of Knots), this incredible combo is primed to prove themselves juggernauts of environmentally-conscious, cerebral post-metal heaviness. The titanic rhythms and thunderous riffage of the aptly-titled "Tempest" envision a future wrought with apocalyptic cataclysm. The potent storms of doomy, slow, and tortuous grind here are melodic and dynamic, though, pulsing with ethereal undercurrents that envelop the monolithic slabs of pure, primal force. Lydia Lunch herself provides effected spoken parts through three cuts, and former Swans frontwoman Jarboe also adds her considerable vocal talents to a couple of songs, but this is really Graham's child, as he contributes just about every instrument to the mix, as well as conjuring the amazingly apocalyptic artwork on the sleeve and liners. "The Light In Their Eyes" places a mournful cello as the centerpiece, with martial drums and frightening soundtrack textures providing the color to the rendering. This is an album that warns of a possible, even inevitable, global environmental catastrophe. And the music provides a sort of soundtrack -- powerful, unstoppable, and ultimately sorrowful. This is a hell of a recording, and this group will be legendary if they can keep up with a creative zenith like this. (Neurot Recordings)

A Storm Of Light website

Link to exclusive video for "Tempest", on Brooklyn Vegan website

Angelique Bosio - "Llik Your Idols" DVD

This documentary of the late 80's-early 90's New York movement now known as the 'Cinema Of Transgression' examines the reactionary/nihilist film/art/music scenes that intersected at this revolutionary time. Interviews with scenesters like Nick Zedd, Richard Kern, Lydia Lunch, Thurston Moore, Richard Hell, Jarboe, Joe Coleman, Russell Simmins, and others lend an air of credibility to the proceedings, as folks like Zedd, Kern, and Lunch were responsible for some of the most shocking and (some would say) tasteless films of our generation. The violence, gore, and sexual depravity of this period is examined and reflected upon by actors and film-makers alike, and although some can be arguably be assessed as little more than Z-grade trash cinema (or fetishistic titillation), there were some important inspirations and aspirations there. In fact, it can be noted that some of this underground cinema has infiltrated modern pop culture, with everything from fashion spreads, photography, and horror films taking cues from some of these still-hard-hitting films. Bosio does a fine job illustrating what made this "scene" tick, with plenty of excerpts and clips. The bonus bits include 2 of Zedd's films, 'Police State' (which is a horrifyingly extreme and pointed look at police brutality, starring himself as the victim), and 'War Is Menstrual Envy' (a weird and almost moving look at, eh, a burn victim, Annie Sprinkle, and Kembra Pfahler in various compromising positions). Well worth a look if this sounds like your cup of tea leaves. (MVD Visual)

"Kill Your Idols" DVD (director: S.A. Crary)

Tracing the history of the famous New York 'no wave' scene of the 70's up until it's supposed re-emergence in recent years, Crary and company manage to compile some interviews and footage of some pretty instrumental progenitors of the NY noise scene. Appearing here: Suicide's Martin Rev, Jim Sclavunos (who curiously details his early sexcapades with the notorious Lydia Lunch - why this was included is a mite suspect, but nonetheless it's an entertaining dialogue), Lydia, Glenn Branca, Arto Lindsey, Michael Gira, Jim Thirlwell, Lee Ranaldo and Thurston Moore. All of these sonic innovators contribute some 'been-there' thoughts and observations on what made this 'scene' so inspirational. And the old footage (though often rough and grainy) is amazing - particularly the early exorcisms of SWANS' classic noise-throb days. Talk about gutteral and abrasive. That was the serious shit - forget metal or punk.

But far from just a look at the past, 'Kill Your Idols' also spends a good amount of time examining some of the current wave of NY bands - Yeah Yeah Yeahs (Karen O seems pretty oblivious, honestly), Gogol Bordello, A.R.E. Weapons (parody or assholes?), Liars, Flux Information Sciences, and Black Dice. The comparisons between old wave and new wave here are very telling, and a bit alarming. Whereas Eugene Hutz of Gogol Bordello seems to have a firm grasp on what makes music and art unique, some of the others included here seem particularly clueless. A shame, but at least we have all the great records from the 'No New York' period to remember it all by, right? (Palm Pictures)

various artists - "Of Sound Mind" C90 cassette (1993)

Here's something special and neat for you. This is my very own compilation cassette, originally released in ultra-microscopic quantities via Godsend Productions & Magazine way back in 1993. If you like experimental and abstract noise and ambient sounds, this 90-minute collection of material from mostly fairly well-known international artists might be appealing. You can download it in 2 parts below. It got very positive reviews way back when from such mags as MUSIC FROM THE EMPTY QUARTER, E.S.T., AUDIO DRUDGE, and others. See what you think and please leave comments so I know you're out there! Did I mention you can download this for FREE with the links below? The artists were all personal friends back then, so it's all legit, too...

Here's the tracklist and bio:

OF SOUND MIND compilation tracklist
CD1
1. Psycollapse - torture lab
2. Merzbow/Arthur Potter - sub-urban
3. Amoeba - feedback study: steel
4. Amoeba - spectacle of false faces
5. Amoeba - elith
6. Beautiful People, Ltd (featuring Jarboe) - newborn child
7. PBK - totem
8. Stereotaxic Device - slash and burn
9. Illusion of Safety - inside
10. Psycollapse - burning up time
disc a
CD2
1. Robert Rich - birdsong for aleta
2. Robert Rich - circle
3. PBK - a dream
4. Konstruktivists - khos (live 1982)
5. Konstruktivists - kardboardia (live 1982)
6. Vidna Obmana - by abundant rain
7. Beautiful People, Ltd. (featuring Jarboe) - suicide song
8. Trance - the other side of silence
9. Trance - rain in hind
disc b

OF SOUND MIND compilation bios:

PSYCOLLAPSE:
This was a loose "band" consisting of Todd Zachritz, Clint Davis, and Brian Zachritz. These tracks were both strictly improvised, and show the dark, more mysterious side of their work. Besides this type of stuff, they also dabbled in many other styles and genres, from hard dance to punk rock to ambient, reflecting an interest and enthusiasm for nearly every genre of music. The band has been inactive for some time, though a reunion is always possible. PSYCOLLAPSE has left behind a catalog of over 40 cassettes of unreleased material, some of which may be compiled in the future.
Godsend Productions
(c) 1992 Godsend Productions

MERZBOW/POTTER:
"Sub-Urban" is a rare collaboration between two very respected figures in the international "post-industrial" noise scene--Japan's MERZBOW and New York's Arthur Potter. This track combines Masami Akita's brutal, grinding electronics/processing with Potter's spoken text/poetry. The result is nothing less than scalding.
MERZBOW has been responsible for an immense number of recordings internationally, while Arthur is primarily a visual designer who's done cover art/designs for numerous CONTROLLED BLEEDING releases as well as volumes 3, 4, and 5 of the seminal DRY LUNGS compilation series and an exclusive cover design for GODSEND's 18th issue.
He has also worked on music with longtime friend Paul Lemos of CONTROLLED BLEEDING fame.
(c) 1992 Merzbow/Potter

ROBERT RICH/AMOEBA:
Hailing from Stanford, California, composer Robert Rich has released an impressive number of fine solo albums of his emotive, ambient soundscapes. He has also worked on collaborations with such atmospheric music luminaries as Steve Roach, Vidna Obmana, and Brian Lustmord. The 5 tracks selected for this compilation are unreleased outtakes pointing to a variety of directions and atmospheres.
His side project AMOEBA is an outlet for his more extreme sound experiments, as presented here. He has also since released several CDs of strange ambient pop under the AMOEBA moniker. The track "Feedback Study: Steel" is based on a "prototype instrument made from a sheet of steel". AMOEBA's "Spectacle of False Faces" dates way back to 1985--an early document of his future direction. "Elith" is an electronic improvisation.
His contributions as Robert Rich include "Birdsong For Aleta", a dance piece written for a solo performance by Aleta Hayes, and "Circle", which uses an instrument Rich built in 1985 called a mallet kalimba.
Robert Rich
(c)1992 Soundscape Productions

THE BEAUTIFUL PEOPLE, LTD:
This was a "band" consisting of Jarboe and Lary Seven. Jarboe is best recognized for her collaborations with M. Gira as SWANS and THE WORLD OF SKIN, though her solo career has been fruitful and productive as well. These songs were another outlet for her creativity, and she released a full-length BPL CD and remix single on Belgium's Sub Rosa label (now available again on the Atavistic label). She has also released several excellent solo albums, and continues to collaborate with artists like Justin Broadrick (of Godflesh and Jesu), Neurosis, and a lengthy list of innovative modern artists from all over the world.
Jarboe
(c) 1991 Jarboe Music

PBK:
PBK has become an important part of the international cassette and experimental scenes. His style of "sound painting" utilizes samples, loops, and synthetic sources to produce a very individual, intuitive type of sound. His many releases on labels such as RRR, Lunhare, and ND show a great range of directions, from the harsh noise of his early work to the near-ambience of recent releases. He has also collaborated with many other artists, including Jarboe, Vidna Obmana, Brian Ladd, Deaf Lions, M.Gira, and Chris & Cosey. PBK now works in a vaguely jazz-like context, though still quite electronic in nature, and certainly more experimental than that term may imply.
PBK
(c) 1991 PBK

STEREOTAXIC DEVICE:
On the electronic beat side of the musical spectrum was STEREOTAXIC DEVICE. Their music, which approached downright danceable at times, used varying atmospheric textures and sound collage to create a rich and layered brand of electronic music--both experimental and accessable at the same time. They released 2 full-length CDs and one single on Belgium's KK Records before disbanding around 1993. This track originally appeared as a CD-only bonus track on their "Lostland" CD single and in different form on their "100 Per Day Extinct" CD.
Recently, vocalist Daniel Williams was active in industrial-dance act THINKING MAN (on Metropolis Records) while keyboardist George Sarah has recorded electronic dance sounds with his project T.H.C. Sarah is now an established Hollywood score composer and has most notably worked on the cult TV series, 'Buffy The Vampire Slayer', among others.
(c)1991 Stereotaxic Device/George Sarah, courtesy of KK Records

ILLUSION OF SAFETY:
IOS are a revolving group centered around Dan Burke. They've released a large number of releases on labels such as Staalplaat, Tesco, RRR, as well as Dan's own Complacency Productions, and they have quickly become some of the most respected crafters of experimental sound. Their vast catalog of work includes everything from ambient fields of sound to crunching noise to the beat-driven textures of their legendary (and polarizing) "Inside Agitator" CD.
Illusion Of Safety
(c)1991 IOS/Complacency

KONSTRUKTIVISTS:
This group has been making their own style of experimental music since the early 1980s. Never ones to be predictable, the group have gone from the noise of their early Third Mind LPs to the more recent neo-techno of their "Tic-Tac-Toe" and "Forbidden" CDs. Core members of KONSTRUKTIVISTS have performed with such "industrial" legends as CHRIS & COSEY and WHITEHOUSE. These 2 live tracks are archival examples of their early psycho-tronic work and date all the way back to 1982.
Konstruktivists
(c)1992 NKVD/Ouragouras Music, Inc.

VIDNA OBMANA:
Belgian composer Dirk Serries has been one of the finest ambient artists in recent times. His soundwork is serene and immaculately constructed, reflecting an atmosphere of delicate, unfolding beauty. His experimentation with nontraditional sound sources has led to some likewise interesting collaborations with other artists including PBK, Marc Verhaeghen (of the KLINIK), Steve Roach, and Sam Rosenthal (of Projekt/BLACK TAPE FOR A BLUE GIRL), among others. Serries also collaborates with others in the more guitar-drone-oriented Fear Falls Burning.
VidnaObmana
(c)1991 Vidna Obmana

TRANCE:
Mason Jones, the man behind the avante/noise group TRANCE, quickly made a name for himself in international experimental music circles, both through his soundwork, and through his label. Charnel Music (which released a stream of fine CDs by such artists as CRASH WORSHIP ADRV, ZENI GEVA, GRAVITAR, and K.K. NULL, among others).
TRANCE, which was chiefly a solo venture, released several CDs and cassettes that range from grinding guitar melee to neo-tribal percussiveness to the solemn, classically-influenced work on his "Augury" CD. Mason is also active with psychedelic rock band SUBARACHNOID SPACE and continues to collaborate with a number of legendary experimental musicians from around the world.
These 2 tracks showcase some of his more percussive music,and show the diversity and subtlety TRANCE is capable of.
Charnel House
(c)1993 Charnel Music